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01-04-2021, 07:19 PM - 1 Like   #1
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Fuji GFX100s - 100MP Cropped Medium Format for under $6,000??

LEAKED: This is the Price of the Fujifilm GFX100S... and You'll LOVE it! - Fuji Rumors

100MP sensor
PDAF on Sensor
IBIS

Medium format is getting some competition.... But who really needs 100MPs.

01-04-2021, 07:21 PM - 3 Likes   #2
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QuoteOriginally posted by Winder Quote
LEAKED: This is the Price of the Fujifilm GFX100S... and You'll LOVE it! - Fuji Rumors

100MP sensor
PDAF on Sensor
IBIS

Medium format is getting some competition.... But who really needs 100MPs.
I have a K-5iis coming, I remember what 16 MP was like.
01-04-2021, 07:55 PM - 1 Like   #3
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QuoteOriginally posted by normhead Quote
I have a K-5iis coming, I remember what 16 MP was like.
hey - me, too!!!
01-04-2021, 07:57 PM   #4
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QuoteOriginally posted by Winder Quote
Fuji GFX100s - 100MP Cropped Medium Format for under $6,000??
Theres the thread from mid December reporting this

I posted price likely in 6-7000 ranges was 1 off! for body only.

it will probably be bundled with 50mm I would expect.


Last edited by surfar; 01-04-2021 at 08:15 PM.
01-05-2021, 01:26 AM - 1 Like   #5
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The question remains. Who really needs the 100mp sensor?
01-05-2021, 01:41 AM   #6
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QuoteOriginally posted by Michail_P Quote
The question remains. Who really needs the 100mp sensor?
Those with an awful lot of disk capacity and nothing else to do with it

Seriously, though, I'd guess some professionals - and a small few amateurs - who print at large dimensions might benefit from such a high resolution sensor. For most, I'd have thought a lower resolution and greater dynamic range would be preferable...

Last edited by BigMackCam; 01-05-2021 at 01:49 AM.
01-05-2021, 02:12 AM   #7
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QuoteOriginally posted by Michail_P Quote
Who really needs the 100mp sensor?
BIG printers and small croppers.

Product/landscape toggers who want the best but dont want Pha$e 1.
01-05-2021, 02:21 AM - 1 Like   #8
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QuoteOriginally posted by surfar Quote
BIG printers and small croppers.

Product/landscape toggers who want the best but dont want Pha$e 1.
100mp gives product photographers a lot of scope. Unlike landscape massive DR is not critical as the lighting manages this. The advantage is the clients have a lot of space around the product to add their copy and they can adjust the product around the frame, for different output, screen, print etc ...

01-05-2021, 02:22 AM   #9
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QuoteOriginally posted by Michail_P Quote
The question remains. Who really needs the 100mp sensor?
Some people reported about how Ansel Adams physical prints were so outstanding. So you get the answer. The truth of the matter is: the economics of digital cameras are very different from the economics of film technology. For digital , given purchasing power of individuals in society, the crossing of supply/demand curves lead to larger digital formats being bought by a minority, while mobile phones and zippy smaller formats at 12 frame per second and lot of AF points are much more popular. We are in the age of instantaneously available results, that are forgotten almost as quickly as produced. Ansel Adams 8x10" prints sold or can sell for millions, while the value of popular digital camera images is zero. Today , the effort and cost of taking pictures with a smartphone is zero, and the value of those pictures is also zero.
01-05-2021, 02:43 AM - 1 Like   #10
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QuoteOriginally posted by biz-engineer Quote
We are in the age of instantaneously available results, that are forgotten almost as quickly as produced. Ansel Adams 8x10" prints sold or can sell for millions, while the value of popular digital camera images is zero. Today , the effort and cost of taking pictures with a smartphone is zero, and the value of those pictures is also zero.
While this may be somewhat true for non-commissioned photos presented as individual works of art for public consumption and opportunistic sale, there are plenty of employed and freelance photographers working with medium format, 35mm digital and occasionally smaller formats, in a variety of commercial settings (press, product, fashion, events etc.). The value of their photos clearly isn't zero.

Still, there are working artists making their living (in whole or part) from photography with a variety of film and digital formats - even high-end smartphones. The digital medium and relatively inexpensive equipment may have made photography more accessible to a wider range of people, but it hasn't democratised the artistic talent and technical know-how essential to creating really good art. Photographers with these skills are still producing work of financial value. I quote a post of yours from earlier this year:

QuoteOriginally posted by biz-engineer Quote
40x 60" posters framed on canvas shot with 22Mpixels are easy to find at Ikea and Amazon, you can have one for 39 euros or less. No need to go through the effort of using a Pentax camera and going through the creation of the photographs, post processing , ordering it to a photolab and framing it. However, the prints shot on Phase One that are sold by Lumas in Berlin, Paris and Vienna sell at prices from 3500 euros to 8000 euros each. The price for a 40 x 60" C-print on high end paper (from the same lab as the one working for Lumas) costs me between 100 and 200 euros, so you can see my stitching and stacking effort could be worth several thousand euros.
Some of those 40"x60" canvas posters from Ikea and Amazon can sell in their thousands due to low unit cost, wide distribution, and an overwhelming majority of the public for whom the resolution and print quality is more than good enough. 5,000 units at 39 euros each is 195,000 euros... Not bad at all. I suspect there's probably more revenue and profit in these posters than the low-volume sales of individual high-quality prints from Lumas...

Last edited by BigMackCam; 01-05-2021 at 05:19 AM.
01-05-2021, 03:50 AM   #11
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Gosh, 50MP is far too low for GFX50 system. It results in bad aliasing and moire. It is gone @ 100MP. I'm selling 50R for this one.

No need to trash something for "high res". The real cake here is 400MP pixel shift. 16K is the resolution of today and allows for close inspection of huge print and even more - digital 100" displays with 8K+ resolution.
01-05-2021, 04:02 AM   #12
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QuoteOriginally posted by MJKoski Quote
Gosh, 50MP is far too low for GFX50 system. It results in bad aliasing and moire. It is gone @ 100MP. I'm selling 50R for this one.

No need to trash something for "high res". The real cake here is 400MP pixel shift. 16K is the resolution of today and allows for close inspection of huge print and even more - digital 100" displays with 8K+ resolution.
Out of curiosity, where does this kind of resolution have practical applications? Or, to put it another way, who actually wants or needs images this detailed, besides photographers simply looking for "better" at every turn? I'm not being critical here... it's a genuine question...
01-05-2021, 04:37 AM   #13
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QuoteOriginally posted by BigMackCam Quote
Out of curiosity, where does this kind of resolution have practical applications? Or, to put it another way, who actually wants or needs images this detailed, besides photographers simply looking for "better" at every turn? I'm not being critical here... it's a genuine question...
Superfine details is what drove Ansel Adams to multiple upgrades from his brownie to his 8x10", he clearly explains in his books how he went through his upgrade process and choices of equipment (Cf. books such as "The Camera" and his book about 40 photographic cases) . The thing is... those GFX100 at $10K and now $6K (without the lenses, without everything else), don't even produce images as detailed as Ansel Adams' 8x10", maybe at bet getting close with pixel shift if everything is perfect (no motion, no wind etc). However, the $10K pays for the speed. It might have taken days and weeks of efforts from Ansel Adams, to carry his cameras up the hills and develop his prints in the darkroom, those Fuji camera can output 4 or 5 images per second! Something unthinkable in times of Ansel Adams. But, as Raymond Depardon (the photojournalist and renown professional artist) said, when he was asked by a journalist if he was going to switch to digital, "Digital cameras are for people who are in hurry. I am a slow photographer, so digital is no for me" (smile smile).
01-05-2021, 04:42 AM   #14
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Simple. If I had to choose a large print of a famous subject, I would pick the one with the most details provided light is equally good in all options from which to choose.

It is precisely the details which matter these days when 99.9% shoot the same landscapes (or anything else).

Watching large prints from a long distance is a thing of the past. Now one can watch from the distance and move up close to see the details too. You can now have the cake and eat it too.
01-05-2021, 04:53 AM   #15
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QuoteOriginally posted by MJKoski Quote
It is precisely the details which matter these days when 99.9% shoot the same landscapes (or anything else).
Well, in the 60s, there was no internet and film, so everyone shooting the same scene was convinced of having a unique shot, sharing images among family and friends using a slide projector.

Now in 2020, you can see world wide on flickr, 500px, instagram, facebook & al. what everyone else has shoot, so now you become aware that thousands of other people took pretty much the same landscape shot as yours.

Simply, the truth is, unlike shooting in studio where you can literally create a composition, landscape elements can't be moved by the photographers , so it's difficult to shoot some original landscapes.
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